If you are a character in a Shakespeare romantic comedy, you may assume the following: When composing richly personal sonnets alone onstage for your Big Moment, your mischievous friends will eavesdrop; your sonnets will prove the source of their endless amusement; the person you woo at a masquerade ball is actually someone else’s lover; and if you’ve more lines than all but five other characters, you’ll wed your soul mate just before curtain call.

Audiences at Elm Shakespeare Company’s “Love’s Labour’s Lost,” which concludes its run at Edgerton Park after Sunday’s performance, quickly recognize these staples of Shakespeare even if they’ve never seen “As You Like” or “Much Ado About Nothing,” for instance.

If “Love’s Labour’s Lost” is, indeed, somewhat short on surprise and conflict, it is long on deft word play, colorful secondary characters and rhymed couplets. Director Rebecca Goodheart and her design team infuse Elm’s production with sweet music, bright production elements and a game cast that fully embraces the play’s giddy spirit.

The conceit of this romantic frolic starts with the King of Navarre (a dashing Martin Lewis), known as Ferdinand to his fellow courtiers, and three of his fellow bachelors — Berowne (Aaron Bartz), Longaville (Michael Hinton) and Dumaine (Kingston Farady) — swearing a monastic oath between themselves to forsake all pleasures, from innocent to guilty, to study matters philosophical and spiritual, for at least three years.

No sooner is the blood dried on their pledge when in sails the “Good Ship Temptation,” helmed by the Princess of France (a sassy Rachel Clausen) who just happens to travel with three of her single cohorts to visit the Court of Navarre. To their dismay, they receive a cold reception from the newly founded He-Man Woman Haters Club. Naturally, all four of these would-be stoics dissolve into lovesick Andy Hardys hamstrung by their recent celibacy pact.

The rest of the play has the lads trying to woo their French guests who, after learning of their sacred oath, play hard-to-get with the silly Navarreans, yet never so hard as to dampen their masculine passion.

As if to suggest that all well-heeled men are innately knuckle-headed in romance, Shakespeare introduces a delicious cuckold, Don Adriano de Armado (a commanding James Andreassi), whose affections tend toward Jaquenetta (Sarah Bowles), a not entirely innocent dairy maid, who happens to be well-acquainted with the mangy Costard (Martin Jason Asprey), whose nimble wit compensates for his lack of social status. Don Adriano’s elusive task at hand is to punish his randy rival. As one might guess, it isn’t exactly a fair fight.

A band of musicians set the evening’s festive tone a half-hour before the play starts, singing nifty songs familiar to the Edwardian period (quite evident in Elivia Bovenzi’s lively, bright costumes). The band streams through the evening, both covering scene changes and taking center stage, and they genuinely spruce up the production. Music is arguably the glue that seals the show, and it seems that everyone in the cast contributes to the melodious merriment.

The performers all embrace the play’s impish foolery, especially Andreassi, who imbues his Don Adriano with Sid Caesar shtick, Erik Rhodes bravado and impeccable rolling R’s. He is well-met by Brianna Bauch’s Moth, a Feste-like page, who is equally adept at singing, fooling and beguiling.

Asprey’s Costard is another standout whose wily wit seems to flow from his person without affectation. Benjamin Curns, the de facto leader of the wandering minstrels, projects the correct measure of self-love in his scripted role of the pedantic Holofernes.

When all is said and done, Elm Shakespeare’s “Love’s Labour’s Lost” is an effervescing evening and a complete contrast to last year’s splendidly ferocious “Romeo and Juliet.” Giddy-yup if you want to catch it, for it disappears at 10:15 pm Sunday.